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“According  to  a  report  of  Prof.  Geo.  H.  Perkins, 
State  Geologist  of  Vermont,  the  demand  for  mar¬ 
ble  is  showing  a  marked  increase  each  year,  and 
the  total  output  from  the  Green  Mountmn  State 
hzis  doubled  in  eight  years.” — Stone,  Nov.  1912. 


KEEPING--  UP 
WITH  TVIARBLE 


vSKE-TCHING-  THE.  GRIDWTH  OF 
A  G-ICE.AT  INDTJvS  TPJV"  AND 
TDLDING-  WHY  A5LAR.BLE.  HA<S 
K.BPT  IN  THE.  I.E.AD 


VBRM.ONT  MARBLE.  COMPANY 

BOSTON  PROCTOR.  VT.  NEAV  YORK 

CHICA.G-0  sST.  X^OTJIsS 

PHILADELPHIA  CLEVELAND  v^ATST  FRANCIsSCO 
WAx^HING-TON  KA.NvSA.>S‘  CITY  TA.C02V1A 
PORTLAND  VANCOUVER,  B.C. 

PETERBORDXJCH,  ONT. 


Page  four 


The  Old  Mill  where  the  Vermont  Marble  Co.  was  born 


EARLY  DAYS 

'HEN  John  Sutherland  journeyed  up  the  old  mili¬ 
tary  road  and  pitched  his  tent  at  the  falls  of  the 
Otter  Creek,  he  had  no  idea  of  becoming  famous. 
As  a  matter  of  fact,  the  renown  which  was  two 
or  three  generations  late  in  reaching  him  came 
in  rather  a  roundabout  way. 

Sutherland  built  a  saw-mill  and  a  grist-mill  at  the  foot  of  the 
falls  and  established  a  home  there  in  the  wilderness.  In  time 
the  little  settlement  began  to  be  known  as  Sutherland  Falls.  All 
this  was  prior  to  the  American  Revolution.  Those  early  settlers 
never  knew  that  they  held  the  key  to  a  wonderful  treasure-house. 

After  the  passing  of  nearly  a  century,  two  brothers,  named 
Humphrey,  made  an  opening  at  the  base  of  the  mountain  and 
began  to  take  out  marble.  They  also  constructed  a  small  mill 
there  beside  the  river.  But  the  years  never  brought  them  any 
great  returns.  Something  was  lacking.  The  work  needed  more 
railroads  and  better  machinery.  It  needed  also  a  man  of  vision 
—  someone  who  could  look  down  into  the  future  and  plan  for 
big  things. 


LAYING  THE  FOUNDATIONS 

With  the  advent  of  Redfield  Proctor  in  1870,  came  a  new 
order  of  affairs.  It  was  through  him  that  the  marble  industry 
received  its  great  development.  Gradually,  but  with  unalterable 
determination,  he  pushed  Sutherland  Falls  marble  out  over  the 
country.  Thus  was  the  Vermont  Marble  Company  born,  and 
the  name  of  Sutherland  given  permanency. 

It  all  started  in  that  old  mill  down  in  the  hollow,  a  building 
in  which  only  six  or  eight  quarry  blocks  could  be  sawed  at  a 
time.  There  was  a  track  leading  up  to  the  quarry,  and  the  blocks 


Page  five 


Page  six 


The  Proctor  Plant  as  it  looked  in  1885 


A  Corner  in  the  Shop 


VERyv^O  ISI  T  '  MATl-B  l-E.  •  COJV\PA.NY 


were  placed  on  a  car  and  lowered  into  the  mill  by  means  of  a 
cable.  A  yoke  of  oxen  furnished  the  motive  power  that  was 
needed  to  get  the  empty  car  back  to  the  quarry  again.  The  traffic 
of  the  early  seventies  called  for  no  very  complete  equipment. 


BRANCHING  OUT 

But  when  people  really  became  acquainted  with  Vermont 
marble  a  change  was  noted  in  the  volume  of  the  incoming  mail. 
It  took  a  little  more  time  each  day  to  copy  the  orders.  Another 
mill  had  to  be  erected  to  accommodate  the  growing  business ; 
extra  help  had  to  be  employed ;  new  houses  had  to  be  built. 

A  finishing  shop  was  reared  wherein  marble  could  be  carved 
and  polished.  A  building  shed  sprang  up  —  for  marble  was 
pushing  its  way  into  structures  of  every  kind.  More  mills  were 
added  that  there  might  be  less  delay  in  cutting  up  the  quarry 
blocks.  A  machine  shop  and  a  wood-working  shop  were  raised. 


Page  seven 


The  Sutherland  Falls  Quarry — in  many  respects  the  most  wonderful 

quarry  in  the  world 


Page  ei  ght 


Channeling  Machines  in  Pittsford  Valley  Quarry 

In  fact,  every  department  was  bending  under  the  strain  of  keeping 
up  with  marble. 

And  while  all  this  was  taking  place,  the  old  water  power 
was  being  converted  into  electric  power ;  horses  were  crowding 
out  the  oxen,  and  traveling  cranes  were  creeping  into  the  shops 
and  yards.  Other  quarries  —  the  Pittsford  Valley,  the  White 
Rutland,  and  the  Blue  Rutland  —  were  being  developed  to 
supplement  the  work  of  the  old  Sutherland  Falls.  Shops 
were  being  established  at  Center  Rutland  and  West  Rutland, 
and  a  railroad  was  being  pushed  to  completion  that  all  these 
expanding  interests  might  be  centralized.  Marble  was  out  for 
a  conquest  of  the  world,  and  everyone  was  expected  to  keep 
up  with  it. 

The  community,  too,  was  showing  the  effects  of  keeping  up 
with  marble.  It  was  outgrowing  its  old  surroundings.  Trees 
were  cleared  away  to  make  room  for  homes.  Schools  and 
churches  took  their  places  on  the  hillside.  A  cooperative  store 
was  opened  where  the  profits  were  divided  among  the  employees, 
and  foundations  were  laid  for  a  library,  a  Y.  M.  C.  A.,  and  a 

Page  nine 


Page  ten 


In  the  Building  Shop 


hospital.  In  short,  the  little  settlement  of  Sutherland  Falls  was 
transformed  into  the  modern  village  of  Proctor. 

But  keeping  up  with  marble  called  for  other  things.  It 
called  for  more  land  —  land  that  would  supply  additional  quarries, 
and  lumber  for  boxing,  and  feed  for  horses.  It  demanded  that 
the  yards  be  lined  with  railway  tracks,  and  that  a  dependable 
water  system  be  installed.  It  necessitated  the  stretching  forth  of 
a  tramway  which  should  keep  the  mills  supplied  with  sand  — 
and  therein  lies  a  story. 

MOVING  A  MOUNTAIN 

In  the  days  of  the  old  mill  a  few  teams  could  haul  all  the 
sand  that  was  needed.  When  the  business  began  to  increase 
a  short  tramway  was  constructed,  but  the  buckets  soon  began  to 
come  back  empty.  Finally,  the  cable  was  extended  for  two-and- 
a-quarter  miles  up  over  the  mountain,  and  the  work  of  keeping 


The  Riverside  Quarry 


Page  eleven 


Page  twelve 


Interior  of  one  of  the  Mills 


Falls  and  Power  House 

up  with  marble  was  again  placed  on  a  solid  footing.  That  was 
ten  years  ago.  At  the  present  time  the  tramway  is  still  in  opera¬ 
tion,  and  the  sand  is  still  forthcoming,  although  seventeen  acres 
have  been  lowered  to  a  depth  of  sixty  feet. 

To  express  it  in  another  way,  each  bucket  weighs  300 
pounds  and  has  a  capacity  of  500  pounds,  and  so  rapidly  are 
they  filled  and  emptied  that  they  move  along  the  cable  at  the 
rate  of  one  every  fifty  seconds,  or  seventy-two  an  hour.  During 
the  day  (they  are  in  operation  throughout  the  twenty-four  hours) 
1,728  of  them  arrive  in  Proctor.  Thus  it  will  be  seen  that  within 
the  past  ten  years  about  1 ,500,000  tons  of  sand  have  been  fed 
to  the  hungry  mills. 

THE  VERMONT  MARBLE  CO.  TODAY 

It  reads  like  fiction,  and  yet  it  is  only  a  plain  statement  of 
facts.  It  s  only  one  of  the  many  things  that  have  entered  into 
the  making  of  the  largest  marble  company  in  the  world  —  a 
company  that  employs  over  4,000  men,  and  distributes  around 
the  globe  1 ,000,000  cubic  feet  of  marble  annually. 


Page  thirteen 


Page  fourteen 


Underground  Electric  Road  in  Rutland  Quarry — over  300  feet  below  surface  and  extending  for  hundreds  of  feet  out  into  the  tunnel 


1 

VE.R.7VLON  T  *  LE,  •  COA^PANY  !  j 

Stretched  out  there  beside  the  river  is  a  chain  of  shops  and 
mills,  with  a  floor  space  aggregating  twenty-five  acres,  and  with 
10,000  horse  power  at  command.  Within  those  buildings  are 
a  score  of  turning  lathes  (one  of  the  lathes  will  turn  a  column 
thirty-two  feet  long),  over  1 00  rubbing  beds,  about  300  pneumatic 
tools,  and  more  than  400  gang  saws  which  are  running  day  and 
night.  The  yearly  output  of  the  quarries  is  21 ,000  blocks,  and  in 
1912  there  were  no  less  than  20,000  blocks  on  hand.  From  the 
25,000  acres  of  land  over  which  these  quarries  are  scattered,  comes 
the  bulk  of  the  6,500,000  square  feet  of  lumber  which  must  be  pro¬ 
vided  every  year  for  boxing  and  building  purposes.  It  is  by  means 


Looking  down 
into  the 

Rutland  Quany 


Page  fifteen 


Page  sixteen 


One  of  the  Block  Piles 


Underground  in  the  Esperanza  Quarry 


of  these  facilities  that  the  Vermont  Marble  Company  is  able  to 
ship  monuments  to  its  customers  at  the  rate  of  250,000  per  year. 

Nor  is  the  end  in  sight.  The  search  for  new  quarries  is  still 
going  on,  although  nearly  fifty  distinct  types  of  marble  have 
already  been  brought  forth.  Buildings  and  yards  are  continually 
being  remodeled  and  enlarged  to  meet  the  ever-changing  condi¬ 
tions.  Even  in  far  -away  Alaska  they  are  beginning  to  understand 
what  it  means  to  keep  up  with  marble.  The  demand  becomes 
more  insistent  with  each  succeeding  year. 

How  does  it  happen  that  marble  has  won  this  unprecedented 
popularity?  What  are  the  qualities  that  give  it  its  appealing 
power  —  its  magical  hold  on  the  people  who  buy?  The  case 
may  be  summed  up  in  three  words  —  beauty,  durability,  and 
adaptability. 

THE  BEAUTY  OF  VERMONT  MARBLE 

If  you  were  to  step  into  the  Sample  Rooms  of  the  Vermont 
Marble  Company  and  examine  carefully  the  long  rows  of  polished 
slabs,  you  would  understand  why  it  is  that  the  world  never  tires 


Page  seventeen 


A  part  of  the  Center  Rutland  Plant 


Pag  e  eighteen 


A  part  of  the  West  Rutland  Plant 


-'C  OiVi  PA7?Y^~ 


of  Vermont  Marble.  It  seems  almost  unbelievable  that  one 
small  state  should  be  able  to  produce  so  many  wondrously- 
blended  varieties.  No  two  of  them  are  alike  —  each  has  an 
individuality  of  its  own.  The  delicate  markings  and  shades 
of  color  are  arranged  in  manifold  combinations. 

Other  substances  fail  to  exert  the  same  mystical  charm.  In 
a  recent  article  in  Stone,  it  is  declared  that  “Marble,  apart  from 
its  utility,  has  an  inherent  and  mysterious  beauty  that  appeals 
to  everyone.”  There  is  something  in  its  makeup  that  thrills 
mankind,  and  enkindles  the  highest  artistic  feeling. 

DURABILITY 

The  beauty  of  marble,  however,  is  no  less  marked  than  its 
durability.  W.  G.  Renwick,  in  his  book  “Marble  and  Marble 
Working,”  thus  refers  to  the  marble  structures  of  ancient  Greece: 

“  Indeed,  it  is  no  exaggeration  to  state,  that  but  for  the  lasting 
nature  of  the  medium  employed,  the  most  magnificent  conceptions, 
both  in  architecture  and  sculpture,  would  have  been  lost  to  the 
world.  When  it  is  remembered  that  our  noblest  buildings  are 
based  on  classic  examples  executed  in  marble  (the  only  medium 
in  which  such  preservation  as  has  obtained  was  possible),  the 


Cable  Road 
connecting 
Danby  Quarries 
with  the 
Rutland  R.R. 
At  this  point  the 
grade  is  55  feet 
to  the  hundred 


Page  nineteen 


Page  twenty 


True  Blue  Mill  Beldens  MiO 


Taking  out  Blocks  from  one  of  our  Alaska  Quarries 


debt  of  modernity,  both  to  the  medium  and  the  workers  therein 
of  ancient  times,  is  indeed  a  heavy  one.  Nor  is  this  the  whole 
of  the  debt.  Mr.  W.  Brindley  has  pointed  out  that  the  imperish¬ 
able  nature  of  the  material  has  enabled  records  to  be  preserved 
which  throw  light  on  the  history  of  bygone  ages.” 

Records  are  not  lacking  which  show  that  marble  has  been 
used  in  practically  all  periods  of  the  world’s  civilization.  Certain 
translations  bring  out  the  fact  that  marble  was  well  known  in 
1000  B.C.  Even  in  the  rigorous  northland  it  has  kept  its  form 
through  unnumbered  centuries. 

Norway  has  several  marble  churches  which,  according  to 
a  noted  scientist,  have  stood  600  or  700  years,  exposed  to  all 
that  country’s  cold  and  stormy  weather,  yet  they  have  come 
through  the  long  siege  in  almost  perfect  condition. 

All  this  serves  to  indicate  what  may  be  expected  of  Vermont 
Marble  —  for  our  own  product  is  acknowledged  to  be  the  equal 
of  any  foreign  variety.  Thus  far  its  record  has  given  promise 
of  even  greater  achievement. 

In  the  country  churchyards  there  are  thousands  of  old 


Page  Twenty-one 


Florence  Plant 


Page  tv\  enty-two 


Middlebury  Plant 


Cl  S  jSI  j  An^/ 


Vermont  Marble  slabs.  Some  of  them  have  been  standing  for 
over  a  century,  half  hidden  by  grass  and  weeds.  They  have 
been  given  no  care  or  attention,  yet  you  will  find  very  little 
change  in  the  marble.  It  will  only  require  a  thorough  cleaning 
to  bring  out  the  old-time  color  and  brilliancy. 

Owing  to  its  compact  formation,  Vermont  Marble  offers 
little  chance  for  that  absorption  of  moisture  which  is  the  begin¬ 
ning  of  disintegration,  and  its  crystalline  structure  is  capable  of 
great  crushing  strength.  It  is  also  unexcelled  as  a  heat-resistant. 
This  has  been  proven  in  every  great  fire  wherein  marble  buildings 
have  been  placed. 

ADAPTABILITY 

Speaking  of  buildings  suggests  another  phase  of  the  question 

—  the  adaptability  of  marble.  No  other  stone  can  be  applied  to 
so  many  different  uses  with  equally  pleasing  results.  It  has 
entered  into  the  making  of  public  buildings  and  private  resi¬ 
dences,  apartment  houses,  libraries  and  churches,  thus  bringing 
into  the  modern  world  the  beauty  of  old  Athens.  It  matters  not 
whether  it  be  used  for  exterior  or  interior  work.  You  may  mold 
it  into  tile  for  your  floors,  or  slabs  for  your  electric  switchboards 

—  and  each  of  these  branches,  by  the  way,  forms  a  separate 
department  of  the  industry.  Fonts  and  altars  that  are  fashioned 
out  of  marble  always  add  to  the  dignity  of  their  environment, 
while  mausoleums  and  sepulchres  depend  upon  it  for  a  large 
measure  of  their  attractiveness. 

MAUSOLEUMS 

Indeed  it  seems  only  natural  to  refer  to  marble  when  you 
speak  of  mausoleums.  The  two  names  have  been  linked  together 
for  more  than  twenty  centuries.  The  very  word  itself  originated 
in  a  structure  born  of  the  marble  quarries,  and  from  that  union 
has  sprung  a  long  line  of  beautiful  tombs.  Our  own  country 
is  dotted  with  such  mausoleums.  They  form  an  immeasurable 
addition  to  our  memorial  architecture,  and  reflect  the  true  nobility 
of  marble. 


Page  twenty-three 


Page  twenty-four 


The  Proctor  Plant  as  it  looks  today.  Back  of  the  Shops  and  Mills  you  can 

this  picture  with  those  that  precede  it,  you  can  get  a 


■  the  line  where  the  sand  tramway  goes  up  over  the  mountains.  By  grouping 
!a  of  the  present  capacity  of  the  Vermont  Marble  Co. 


Page  twenty-five 


Columns  for  the  Curtis  Building,  Philadelphia — ^  showing  one  of 

the  grip  of  a  traveling  crane,  and  some  of  the  finished 

D  ,  that  have  been  loaded  on  cars 

rage  twenty-six 


the  rough  shafts  in 
columns 


It  must  not  be  supposed  that  all  these  are  of  elaborate  design. 
A  mausoleum  need  not  be  unrestricted  in  price  to  be  commend¬ 
able,  for  the  same  painstaking  labor  and  inimitable  marble  go 
into  the  making  of  the  small  unassuming  sepulchre.  Ornamental 
work  is  not  a  necessity;  artistic  and  compelling  results  may  be 
obtained  without  it. 


MONUMENTS 

This  same  rule  may  also  be  applied  to  monuments.  Nothing 
can  really  take  the  place  of  the  large  marble  memorials.  They 
express  big  ideals  in  a  big  way.  They  place  marble  before  you 
in  its  best  light,  enhanced  by  all  the  grace  and  imagery  of  the 
carver’s  chisel.  They  are  keeping  alive  all  the  valued  traditions 
of  memorial  art.  Thousands  of  them  have  taken  their  place  in 
the  cemeteries  of  the  land,  and  thousands  more  are  yet  to  be  built. 

Take  the  cross  design  for  instance  —  one  of  the  oldest  of 
religious  symbols.  It  may  be  a  work  calling  for  months  of  labor. 
The  sculptor  may  place  upon  it  the  story  of  a  life,  and  stamp  it 
with  his  own  personality.  Or  it  may  be  a  simple  slab,  relieved 
only  by  a  bit  of  tracing  or  lettering,  to  mark  an  unknown  grave 
in  some  obscure  churchyard.  In  either  case  it ’s  the  marble  that 
furnishes  the  irresistible  touch  of  beauty. 

The  wonderful  conformity  of  marble  is  well  exemplified  in 
monumental  work.  For  a  child’s  grave,  nothing  can  compare 
with  white  marble  as  a  medium  of  expression  —  it  seems  to  stand 
preeminently  for  the  ideals  of  childhood.  The  carved  design, 
whether  it  be  simple  or  intricate,  is  never  complete  without 
marble  —  other  materials  may  be  carved,  but  not  with  such  telling 
effect.  You  may  use  it  in  rock  work,  finish  it  with  hone  or  sand, 
or  cover  its  surface  with  a  deep,  unblemished  gloss.  In  whatever 
way  you  look  at  it,  marble  is  always  dependable. 

OTHER  FACTORS 

These  are  the  three  great  reasons  why  marble  has  forged 
ahead,  but  there  are  other  factors  which  must  not  be  overlooked. 

Marble  can  be  easily  cut,  and  the  lettering  is  always  distinct 


Page  twenty-seven 


The  McClintock  Monument,  finished  out  of  Riverside  Marble  for 
Miller  and  Laycock,  Wilkesbarre,  Pa. 


Page  twenty-eight 


The  Godey  Mausoleum,  erected  in  Laurel  Hill  Cemetery,  Philadelphia,  in  1 869. 

The  photograph  shows  you  how  the  marble  looks  at  the  present  time 

and  clearly  outlined.  The  cost  of  getting  out  a  marble  memorial 
is  never  excessive.  There  seems  to  be  no  limit  to  its  wearing 
power,  and  yet  it  gives  the  cutter  a  good  chance  to  work,  thereby 
reducing  the  price  of  the  finished  stone.  No  other  form  of 
memorial  that  is  really  worth  while  can  be  produced  with  the 
same  amount  of  labor. 

Then,  too,  marble  is  usually  shipped  promptly.  You  can 
set  a  date  for  the  erection  of  a  monument,  and  feel  reasonably 
certain  that  the  marble  will  be  ready.  You  are  seldom  asked  to 
wait  six  months  or  a  year  for  stock  —  which  would  probably 
mean  that  your  customer  would  place  his  order  elsewhere, 
leaving  the  work  on  your  hands. 

COST 

Moreover,  the  prices  are  invariably  uniform.  The  same  list 
goes  out  to  all  the  retailers,  with  a  discount  for  cash  as  an  extra 
inducement.  And  in  case  you  happen  to  be  a  dealer  with  a 


Page  twenty-nine 


Page  thirty 


Receiving  Vault,  Woodlawn  Cemetery,  Baltimore,  Md.,  the  contract  for  which  was  secured  by  Wm.  A.  Gault  and  Son 


BIUVIOKX-  iV\A  L  E  •  ,,C  OM.  PAN 


limited  capital,  marble  will  enable  you  to  make  a  creditable 
display  of  finished  work. 

THE  CLEANING  OF  MARBLE 

Again,  marble  can  be  cleaned  in  case  it  becomes  soiled.  In 
fact,  it  ought  to  be  given  frequent  and  thorough  renovation  even 
though  it  may  be  free  from  spots  and  stains. 


The  Kiser 
Monument, 
a  product  of  our 
Pittsford  Italian 
Quarries,  erected 
by  J.  M.  Vickers 
in  Redfield, 

So.  Dakota. 


Page  thirty-one 


The  Baxter  Monument,  which  was  set  up  1  5  years  ago  by  Everson  and  Company 

in  Evergreen  Cemetery,  Rutland,  Vt. 


Peige  thirty-two 


The  Gratz  Mausoleum,  another  old  landmark  in  Laurel  Hill  Cemetery,  Philadelphia. 
After  nearly  half  a  century  of  service  the  marble  remains  unchanged 


CEMETERY  MARBLE 


For  nearly  all  stains  on  monumental  work,  except  those 
resulting  from  oil,  use  javelle  water.  This  is  a  simple  preparation 
made  from  chloride  of  lime  and  washing  soda.  It  can  be  obtained 
at  any  drugstore.  Frequent  and  copious  applications  of  this  liquid 
will  usually  restore  the  marble  to  its  natural  condition.  It  may 
also  be  used  to  good  advantage  when  dirt  has  become  hardened 
on  the  surface. 

When  the  stain  comes  from  oil,  gasoline  of  good  quality 
should  be  used.  Saturate  cotton  waste  or  blotting  paper  and 
press  it  firmly  down  on  the  marble.  Allow  it  to  remain  for  a 
day  or  two  if  necessary,  wetting  it  often  with  gasoline.  The 
process  may  be  accelerated  by  the  introduction  of  sunlight  or 
some  form  of  artificial  heat. 

When  these  remedies  prove  ineffective,  the  only  thing  to  do 
is  to  set  the  monument  out  in  the  open  and  trust  to  the  action  of 
the  sun  and  frost.  This  will  sometimes  succeed  when  all  else  fails. 


Page  thirty-three 


Page  thirty-four 


The  Rockefeller  Mausoleum,  constructed  out  of  Plttsford  Valley  marble  for  J.  S.  Heckert  &  Son,  and  erected  in  Sunbury,  Pa. 


r?  N  T  ^iWA  ILB  L.F.  •  C  OvViPAN  Y  ' 


Every  cemetery  memorial  should  be  cleaned  with  javelle 
water  once  or  twice  a  year,  and  all  the  dirt  and  moss  that  has 
started  to  collect  should  be  removed.  If  foreign  substances  are 
allowed  to  accumulate,  they  absorb  moisture.  This  tends  to 
roughen  the  surface  and  in  turn  invites  the  absorption  of  more 
moisture.  Keep  the  marble  smooth  and  uncoated  and  this 
damage  will  be  averted. 

The  monument  that  has  once  become  roughened  can  best 
be  restored  by  thorough  treatment  with  pumice  stone  or  fine  grit. 
It  is  a  practice  more  or  less  general  to  use  as  a  renovator  a  weak 


HEH-ORX 


'  ^bi!  !'u^ ciie J 

: Oci oBl r ! he'Tetb D  ?. ^ 
Irr  Ovood  Afsureance  ofar  ira' 
eref  1 1  n  i  h e,  L o rd  kin  s  C  h  r i ^  ^ 

7,7  Years-o\  ; 

A  Hufband  hincl.Aloveiy  friend  is  gone  .  , 
APar.ent  dear.'^f'A  Neighbour  kind,  i 
In  Honesty  %\/iri ue  Tiv/'c!. 
iSi^Jaig]  in<a  .Han  bU  ‘Al'a’ A  t  VA  I 


This  marble  slab  was 
placed  in  the  Cemetery 
at  Fair  Haven,  Vt. 
in  1  797. 

It  is  now  well  started 
on  Its  second  century, 
yet  you  will  note  no 
change  in  the  delicate, 
finely-cut  inscription. 


Page  thirty- five 


The  Memorial  to  Governor  Elisha  Dyer,  built  for  F.  F.  Tingley  and  put  up  in 
Page  thirty-six  Swcin  Point  Cemetery,  Providence,  R.  I. 


The  Graham  Mausoleum,  a  medium-priced  structure  formed  out  of  Sutherland  Falls 
marble  and  erected  by  H.  R.  Lewis,  Youngstown,  Ohio 


solution  of  muriatic  acid.  This  should  never  be  permitted.  The 
immediate  results  may  appear  to  justify  the  treatment,  but  in  the 
end  you  will  find  that  the  stone  has  been  greatly  injured. 


EXTERIOR  BUILDING  MARBLE 

Outside  walls  that  present  a  sand-rubbed  surface  may  be 
cleaned  with  scrubbing  brush  and  Sapolio.  On  the  tooled  portions 
use  a  dry,  steel  wire  brush.  Spots  on  exterior  work  that  cannot 
be  taken  out  in  this  manner  can  usually  be  effaced  with  either 
javelle  water  or  gasoline  according  to  the  nature  of  the  stain. 

INTERIOR  MARBLE 

Polished  interior  marble  should  be  cleaned  daily,  rubbing  it 
vigorously  with  a  soft  woolen  cloth  or  white  cotton  waste.  The 
best  results  come  from  dry  cleaning.  If  you  must  use  water, 
apply  it  warm  and  in  small  quantities.  In  order  to  keep  it  clean 
it  must  be  changed  frequently.  Never  use  soap  or  any  other 
cleaning  preparation.  In  order  to  preserve  the  delicate  beauty  of 


Page  thirty-seven 


The  Costello  Chapel,  Lowell,  Mass.,  another  tribute  to  Vermont  Marble. 
Designed  by  F.  Joseph  Untersee,  Boston 


Page  thirty-eight 


interior  marble,  you  must  give  it  fair  treatment,  keeping  those 
things  away  from  it  which  are  likely  to  cause  discoloration.  Not 
only  should  you  guard  the  front  of  the  slab,  but  you  should  also 
be  sure  there  are  no  foreign  substances  at  the  back  of  it  which 
may  work  their  way  to  the  surface. 

Some  few  things  like  iron  rust  and  creosote  cannot  be  erased. 
Others  are  conquered  with  difficulty  if  allowed  to  stand  for  a  long 
time.  Therefore  if  spots  are  discovered  they  should  be  removed 
at  once  if  possible.  For  this  purpose  there  is  nothing  better  than 
javelle  water  for  ordinary  stains  or  than  gasoline  for  oil-spots. 


The  Stephen 
A.  Douglas 
MemoricJ 
unveiled  at 
Brandon,  Vt. 
June  27,  1913, 
in  commemora¬ 
tion  of  the  1  00th 
anniversary  of 
Douglas’s  birth. 
Designed  by 
Shepley,  Rutan 
&  Coolidge, 
Chicago. 


Page  thirty-nine 


Page  forty 


in  memory  of  Edwin  Hawley,  the  Railroad  Magnate 


The  Eveleth-Crafts  Mausoleum,  Greenville,  Me.,  chiseled  out  of  grey  building  marble 

Floors,  stair  treads,  and  all  sand-finished  marble  may  be 
cleaned  with  an  ordinary  scrubbing  brush.  In  this  connection  it 
is  safe  to  recommend  Sapolio  or  any  other  good  material  that 
contains  no  greasy  soap.  As  an  aid  in  the  sweeping  of  marble 
floors,  white  pine  sawdust  is  very  satisfactory  —  oak  and  other 
hard  woods  are  likely  to  produce  stains. 

If  marble  is  given  the  care  that  it  deserves,  the  care  that  any 
valuable  product  should  receive,  there  will  be  no  change  in  its 
appearance.  It  will  go  down  through  the  centuries  reflecting  the 
same  brilliancy  and  distinctiveness  that  it  reveals  today. 

A  DEALER’S  OPINION 

There  is  a  dealer  in  Buckfield,  Me.,  by  the  name  of  Horace 
A.  Murch.  He  learned  the  granite  cutting  trade  in  Quincy,  Mass. 
At  the  present  time  he  owns  a  granite  quarry  in  Maine  and  ranks 
as  a  high-grade  dealer  in  his  territory.  He  has  lately  bought  for 
his  own  lot  a  large  Riverside  marble  monument.  In  giving  his 
reasons  for  buying  marble  instead  of  granite,  he  says: 


Page  forty-one 


Page  forty-two 


The  Chambers  Mausoleum,  moulded  out  of  Florence  marble  for  J.  H.  Sloan,  Elkton,  Md 


VBRJWONT  -iWAILE)  LE  •  COA\PAN  Y’ 


“  I  have  told  lots  of  people  that  granite  was  more  durable  than 
marble,  but  the  last  few  years  have  been  watching  them  both, 
and  I  have  changed  my  mind.  I  believe  that  a  good  grade  of 
Riverside  or  Brandon  or  any  of  your  hard  varieties  will  stand 
as  well  as  any  granite,  and  I  like  the  looks  of  the  marble  best.” 

GOVERNMENT  FIGURES 

In  passing,  it  may  be  well  to  give  a  few  figures.  “The  Stone 
Industry  of  1 9 1  1  ”  is  the  title  of  a  report  which  comes  from  the 
government  printing  office  in  Washington.  It  is  compiled  under 
the  supervision  of  the  United  States  Geological  Survey,  Depart¬ 
ment  of  the  Interior. 


The  Griffiths  Memorial,  delivered  to  Bills  Brothers,  Denver,  Colo.,  and  placed  by 
them  in  the  cemetery  at  Carlsbad,  N.  M. 


Page  forty-three 


The  Willard  Monument  at  Westminster,  Vt.,  a  noteworthy  white  marble  creation 


Page  forty-four 


The  “Last  Supper,”  executed  by  one  of  our  carvers  from  a  celebrated  French  model 
of  Leonardo’s  masterpiece.  It  forms  a  part  of  the  altar  in 
St.  Mary’s  Church,  Ticonderoga,  N.  Y. 


One  of  its  tables  gives  us  a  striking  comparison  between 
granite  and  marble.  The  gain  in  the  value  of  marble  monu¬ 
mental  work  from  1910  to  1911  was  $450,232.00.  During  the 
same  period  the  loss  in  the  value  of  granite  monumental  work 
was  $450,788.00.  It  is  a  singular  coincidence  that  marble  should 
gain  approximately  the  same  amount  that  granite  lost. 

This  is  introduced  merely  to  show  that  marble  is  continually 
making  progress.  Other  materials  may  have  their  ups  and  downs 
but  nothing  can  stop  marble.  The  Vermont  Marble  Company’s 
shops  and  mills  there  in  the  valley  of  the  Otter  Creek  are  never 
idle.  There  are  always  new  memorials  to  be  planned  and 
perfected,  new  buildings  to  be  chiseled  into  form.  From  one 
year’s  end  to  another  it’s  a  case  of  keeping  up  with  marble. 


Page  forty- five 


The  Schumann  Memorial  Tablet,  Magnolia  Cemetery,  Philadelphia,  designed  by 
L.  V.  Boyd,  and  wrought  out  of  a  single  piece  of  white  marble.  The 
order  came  from  E.  A.  Carroll  Co.,  Philadelphia 

Page  forty-six 


“  It  is  notable  that  the  best  tints  are  always  those  of 
naturcil  stones.  These  can  hardly  be  wrong:  I 
think  I  never  yet  saw  an  offensive  introduction  of 
the  natural  colors  of  marble  and  precious  stones 
unless  in  small  mosciics  and  in  one  or  two  glcuring 
instances  of  the  resolute  determination  to  produce 
something  ugly  at  any  cost.” — JOHN  RUSKIN. 


